Thanks for joining us today… Tell us a bit about where you are from and how you got into music?
I’m originally from London, but I moved to Los Angeles on an O-1 visa because I couldn’t shake the feeling that I was supposed to build my life around music.
Ironically, music found me after I lost much of my hearing. As a child I experienced around 80% hearing loss and went through multiple operations before I could properly hear again. When my hearing returned, the first thing that truly connected with me was the piano. I began playing at three, trained classically, and by thirteen I knew I wanted to write songs.
I’ve never written songs from words first. I write from atmosphere. A colour, a memory, the light in a room, a city at night—those things become melodies long before they become lyrics. I’m obsessed with building worlds people can disappear into.
That same philosophy now exists across everything I create. Whether it’s my music or DASH Beauté Los Angeles, it’s all one creative universe. I’m not interested in having separate identities—I want every project to feel like another chapter in the same story.
What’s the live music scene like in Los Angeles right now?
LA raises your standards overnight. I remember seeing a showcase on the Thompson rooftop shortly after moving here and thinking, ‘Everyone is ridiculously good.’ Instead of intimidating me, it made me want to level up.
There’s incredible talent here, but I still think authenticity wins. Algorithms introduce people to your work. Real life makes them stay.
Anyone we should be looking out for?
supwel, without question. I found his music on Instagram Reels and instantly connected with the atmosphere in his production. Working on the Minty remix has been one of the most exciting collaborations I’ve done. He’s based in Ukraine, so everything has happened remotely, but I’d love to make a full record together in Los Angeles one day.
Do you think it’s easy to become a victim of your surroundings sometimes?
Completely. Environment either feeds your creativity or slowly drains it. Moving from London to Los Angeles changed how I thought about music. I spent years writing before releasing anything because I wanted to protect the work until it genuinely sounded like me. I’m incredibly protective of unfinished songs—I need to become them before anyone else hears them.
What’s currently in your ears?
Beach House, Cigarettes After Sex and Phoebe Bridgers are constants. I still go back to Bob Dylan, The Beatles and John Lennon for songwriting. Then there’s the version of me running around LA listening to electronic producers. I love that indie and electronic music are starting to collide.
Worst experience on stage?
I once kicked a bottle of water off my keyboard and drenched the entire front row during an emotional piano ballad. They loved it. I was mortified. I ended up drinking someone’s wine because I’d launched my only water into the audience. I’ve also had a Pomeranian run onto the stage mid-set. Live music is chaos—that’s why it’s brilliant.
Fun stories from the road?
Touring was beautifully chaotic. We spent months crammed into a van doing radio, driving, playing shows and repeating it all again. Equipment broke, guitars snapped, nobody slept enough and somehow those are still my favourite memories. The best stories are never the perfect shows—they’re the disasters.
I hear you have new music…
Minty introduced a new chapter, and the official remix with supwel has already been an incredible response. What’s changed most is my approach. I’ve stopped writing only for the songwriter in me and started writing for the performer too. The next record, Loser, feels like the most vulnerable and vocally ambitious thing I’ve made.
What was the recording process like?
I’ve worked with Mher Filian for almost a decade, so there’s a huge level of trust. We obsess over arrangements, textures and emotion. Loser is becoming this huge, cinematic wall of sound inspired by Phil Spector while still feeling intimate. That’s exactly where I want to live sonically.
Would you change anything?
Every mix could become another mix. At some point you have to let the song go. I’m more interested in honesty than perfection, which is why I love collaborations like the Minty remix—they don’t replace the original, they reveal another side of it.
Anything else you’d like to share?
I’m trying to let people know me beyond the music. Living with body dysmorphic disorder has made social media difficult, but I’m making a real effort to show up more honestly on TikTok and invite people into the process. This month I’m also launching DASH Beauté Los Angeles. Music, beauty, fashion—they’re all pieces of the same creative universe. This is only the beginning.
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